Reichenbach, Benedikt
[HerausgeberIn];
Farocki, Harun
[Sonstige Person, Familie und Körperschaft]
;
Galerie Thaddaeus Ropac,
Exhibition Harun Farocki, Parallele 2014 Paris
Harun Farocki
: diagrams : images from ten films ; [... coincides with the Exhibition Harun Farocki, Parallele, Galerie Thaddaeus Ropac, Paris, January 15 - February 15, 2014]
Titel:
Harun Farocki
:
diagrams : images from ten films ; [... coincides with the Exhibition Harun Farocki, Parallele, Galerie Thaddaeus Ropac, Paris, January 15 - February 15, 2014]
Beschreibung:
Harun Farocki. Diagrams : Images from Ten Films - - This publication attempts to map a visual approach to one of the world's foremost documentary and essay filmmakers, Harun Farocki. Unlike the many other, more theoretical publications about his work, this book operates with still images beyond an illustrative or documentary purpose. By means of repetition, interruption and displacement, the configurations pursue specific movements within each film, taking into account mechanisms of order and open-endedness that are characteristic for Farocki's work in general. The diagram, subject of much discussion recently, is not only a long recurring figure in Harun Farocki's films. More conceptually, it can be developed as another key element of his practice. For the conception of this book, a variety of aspects has been of particular importance. The diagram is the visual counterpart to the essay, open at both ends. It is artificial, with a distinct, non-representational quality. At the same time, it is strictly fact-based, without too much concern for aesthetic questions. Exposing its own order with a relaxed confidence, the diagram signifies a possibility, rather than presenting a product. The diagram is the operation that gives clarity and duration to a sensation, "it is made in order for something to emerge from it" (Deleuze). Its incompleteness constitutes a participatory or performative momentum. The parallel of such diagrammatics with the films of Harun Farocki lies in a formal impulse to avoid the naturalization of "the image." Allan Kaprow thought of his booklets as simple diagrams of a happening's main move. This book hopes to facilitate access to Harun Farocki's work, without too much simplification. It traces the dynamics of ten of his films and presents them along with each film's complete commentaries, dialogs and intertitles, cele-brating their major critical gesture: "the exhibition of a mediality." (Agamben)